abstract
The book a cadela sem Logos (2006), by Ricardo Domeneck, seeks to resignify the performative role of the voice, in a critical gesture toward Brazil’s consensual democracy, which was consolidated during this period. To do this, the book employs a series of structural features that expose the importance of insignificant phonetic elements (i.e., those that do not contribute to the meaning of speech) associated with the context created by the act of vocalization.This article aims to retrace these procedures, showing how such a strategy has a political dimension through which it seeks to disrupt the division between anatomy and semantics, public and private, voice and speech, by listening to the body, and hovering on the limit between the individual and the social.
Keywords:
Ricardo Domeneck; Brazilian contemporary poetry; democracy; poetry and body